06/02/2017
Article text updated: 10/18/2018
I won’t be mistaken if I say that absolutely all visitors to my blog have experience shooting wide: smartphones have a lens with an equivalent focal length (EFF) of 25-28 mm. Only here, not everyone gets masterpieces. Today I propose to analyze how to take pictures with wide-angle optics so that the UG does not come out.
First, let's deal with the abbreviation "UG" - "dull g..but." When a novice amateur photographer acquires his first width, he dumps tons of shots on social networks and on specialized forums of photographers.
What's good about this picture? Probably, only the fence line leading the viewer's eye to the SVKTs (the plot-important compositional center, if anyone has not yet read Lidia Dyko's textbook "Conversations about Photo Mastery"). Why do I think this photo is UG? Someone will say: “Because the building was shot close and there is distortion” (in this case, the lines tend to converge at one point, although in reality they are parallel). Why distortion appears when shooting wide, if you tilt the lens axis, is discussed in detail and with diagrams in the photo tutorial “Why do I need a full frame” (a link to this article and others that will be mentioned in the course of the conversation can be seen at the very bottom).
But I do not agree that distortion is the main evil here. I load the image into Photoshop, make a duplicate layer, set the guides, in the menu "Edit - Transform - Perspective - Scale". I more or less level the walls of the building. It has become better (if I had shot in full face, the result would have been a little better). Still ugh...
So the reason is different. I think this photo is poor quality because it has a mid shot (near corner of the building), back shot (far corner and bell tower), but no front shot. If on the near plane there were some interesting object, the viewer would not even pay attention to the distortion.
Do you want an experiment? I take the original photo with curved walls and make a simple photo collage.
I bet you didn’t even immediately notice that I additionally curved the walls of the building in the editor ...
Features of the Wide Angle Lens
Wide-angle lenses have two characteristics that distinguish them from other types of lenses. First, the width stretches the perspective (strengthens): objects in the foreground are very large, and objects in the background quickly decrease in size.
Photo 5. Train cars, you can believe me, they also have the same height front and back, although due to the perspective enhanced by the wide-angle lens, they don't look very realistic. But spectacular… 1/160, -1.67, 8.0, 450, 14.
Secondly, a wide-angle lens produces a picture that English-speaking photographers characterize as “inclusive”, that is, “inclusive, interpenetrating”. In Russian, I would say, "pulling the viewer inside", or "interactive".
Agree, when you look at these flowers, it seems that they are standing behind glass, you can reach them. An extraordinary feeling. Neither a portrait lens nor a telephoto lens will give you such a feeling - this is the "magic" of wide-angle optics.
Mistakes beginners make when shooting with a wide-angle lens
Experienced photographers identify four types of imperfections in photographs taken by amateurs with wide-angle lenses:
- There is no subject close to the lens.
- There is no clearly defined SVKTs.
- Trying to fit too many objects into frames.
- Distorted faces in portraits.
Let's try to analyze each of these points.
1. The subject is far from the camera lens
In my opinion, the first mistake is the cause of 90% of weak shots and it is closely intertwined with the next two.
Most of the best wide-angle shots are from less than a meter (for large objects) and even from a few centimeters (if we are talking about little ones). For example, I photographed the flowers in picture No. 6 from about 10 cm.
To get interesting shots, we must have a greater image depth (in other words, enhance the perspective), that is, we must approach the subject at the shortest possible distance.
Let's do an experiment. Let's take a photo with a street sculpture on a full frame Nikon D610 with reportage zoom Nikon 24-70 mm f / 2.8 at the wide end of the FR = 24 mm. At first, I approach a very short distance: literally half a meter.
It seems to me that the car will now jump out of the screen onto the computer! I move a little further, literally 50-70 centimeters and ... the magic is lost.
Well, if we move a couple of meters away, then our object is completely lost in the picture. Charm disappears completely.
I think that in the example above, the circle of paving stones more or less serves as a foreground. If it were not there, the perception of the image would be even more weakened.
But for those who hate widths, I will give an example of the same plot, but shot at a long focal length.
Pay attention to the size of the windows in the background in the wide-angle and telephoto shots. Now it is clear why, when photographing against the background of a mountain or a monument, it is better to ask the model to move away from him and use a lens with a large focal length for shooting?
In an article with a story about why I need a wide and why a telephoto, I paid attention: if you shoot a frame with a Canon 70-200 mm f / 2.8 at FR = 200 mm and FR = 180 mm, then the change in focal lengths will be only 10% and, most likely not visible to the viewer. And in a photo taken with a Canon 16-35 mm f/2.8 at 35mm FR, and then at 16mm FR, despite the fact that the focal length has changed by only 19mm, the relative change was 219%.
The same story with changing the distance to the subject: we shoot with a telephoto lens - stepping back a step, we get practically no changes in the transmission of perspective, wide - there is a significant jump ...
Do not forget that there are wide-angle lenses (FR = 24-35 mm for full frame, and FR = 15-22 mm for CROPS), and there are ultra wide-angle lenses (FR = 14-24 mm for FX, and FR = 10-14 mm for DX) - they are many times more sensitive to the photographer's mistakes made when building a frame.
The situation as in photos #12 and #13 is described by professionals as “arrangement of elements of the composition at the same distance from the lens and, as a result, the loss of CVCC”.
Well, maybe I didn't choose very well here. good example because the car in the background is 30 meters away. If she stood 5 meters from the bear, then both subjects would merge and it would seem that they are located almost in the same plane ...
How it works? Read the photo tutorial about the differences between crop and full frame - there are diagrams and formulas (the link is located at the end of this article).
Here I will briefly. If in photo No. 11 the distance to the bear is 1 m, and to exactly the same bear in the background - 5 m, then the difference in the change in their linear dimensions of the image in the image is Δ=((5/1) * 100% -100% )=400%. When the photographer moves away from the first bear by 2.5 m, then Δ=((5+2.5/(1+2.5)*100%-100%)=114%...
In practice, this means that in the first case, the perspective is very pronounced: the bear in the foreground will look 4 times larger in the picture than a sculpture of the same size, 5 m away from it. In the second situation, such bears will look different in the picture in size from each other only 1.14 times.
This means that a trick like stepping back, taking a wide shot and then cropping out the subject won't work without losing the magic of the wide frame. Indeed, in this case, the prospect will be expressed weaker.
To compare perception: let's say we would shoot the same scenes with a telephoto lens from a distance of first 20, and then 22.5 meters. Then the change in the size of bears in the first case would be Δ=((25/20)*100%-100%))=25%, and in the second case ((27.5/22.5)*100%-100%)= 22.2%. Firstly, the sizes of both sculptures in telephoto images differ from each other much less than when using the width (compare 25% and 400%), i.e. perspective is less pronounced. Secondly, changing the distance to the subject also does not lead to dramatic differences: 25% / 22.2% \u003d 1.13 versus 400% / 114% \u003d 3.51 ...
So once again: if you want beautiful shots with a wide-angle lens, get closer to enhance the perspective, that is, the difference in size between the foreground and background. Here's another practical example. I approached the sculpture at 30cm.
It seems everything is fine, the picture is addictive. And what happens if the distance is reduced by 15cm?
I note that the examples here are not ideal in terms of composition. I am also a student and rarely can I shoot my masterpiece wide. In particular, in this example and on the frame with bears, the bottom is ugly cut off. In the photo report, I probably would have left the previous image so that the plate on the ground would completely enter the frame. Well, more paired frames to demonstrate the postulate: it is better to take pictures with wide-angle optics from a short distance.
2. There is no clearly defined object in the frame when shooting with a wide-angle lens
The requirement to have an SVKTS in the frame that draws the viewer's attention is interconnected with the previous point: a little further away - the viewer is "lost".
Dear reader, excuse me if my tone is a little instructive. I repeat once again, I also don’t know how to shoot wide, I’m just learning. I post my lecture notes on my blog. I know that it often happens that this SVKTs is difficult to find and designate, that sometimes there is no way to get closer, etc.
To enliven such a shot, it is vital to find something that will catch the eye of the viewer: a stone, an inscription, a crack in the foreground.
Do you think why I travel to distant countries with my wife? I need her to bring human element” (“human element”) into the composition.
My theory here is this: in these shots, the main subject is not the person, but the environment, and it, as it should, is located close to the photographer.
3. Trying to put too much in the picture
Shirik has a very large viewing angle. This helps when we want to show, for example, our object's habitat. But this makes it difficult to build a composition, since the picture may contain too many secondary details that distract from the main one. There is only one piece of advice: know when to stop and be careful when choosing the border of the frame.
4. Shooting portraits with a wide-angle lens
Surely, you have met strict recommendations many times: portraits of people are not taken wide, as the proportions of the face and body are greatly distorted.
The first frame was photographed from a distance of 15 cm, the second - from 30 cm.
I would add a clarification here. When a girl writes to you, a fashion model: “Dear photographer, please take off my portfolio,” it’s probably better to take a Canon 50mm f / 1.4 or Canon 85mm f / 1.4 portrait lens. And if you're walking down the street and shooting street photos, you can get very interesting shots with a wide-angle lens with the effect of engaging the viewer.
Conclusion
Let's summarize. Without a wide-angle lens, it is very difficult, and sometimes impossible, to shoot a professional report from a wedding, birthday, party, and travel. If only because you need a setting frame with general plan, giving the viewer an understanding of where the event is taking place (see the lesson “How to photograph a photo story”).
So that the pictures from the width are not UG, you need to follow simple rules: 1) come close; 2) show the viewer clearly who is the main object; 3) not to make a "mess" of thousands of subjects, to be simpler; 4) if you want the natural proportions of the human body, large focal lengths are used, but for street photography and humor, do not be shy about shooting wide.
I understand that I am not an authority in photography, but try to carefully consider the theses that I have outlined here. Then go to the Mywed website and analyze the best shots - 30% of wedding photos are taken wide. Then type in Google the phrase "Kommersant, the best photos of the year". There, too, a third of the plots were received at a wide angle. Analyze each photo, compare with what is in your portfolio, and then you will also begin to shoot masterpieces with a wide-angle lens. Good luck friends!
I also want to add that all of the above does not mean that we should always use shirik, and there are exceptions when we do not follow the rules described in the article. I also draw your attention to the fact that in a photo essay it is advisable to alternate shots taken with different types of lenses: if all the pictures are taken with a wide-angle lens, the viewer will get bored.
Have you noticed that when shooting with this type of optics, the lines in the frame become extremely important? Almost everywhere they very tenaciously “capture the eye” and lead the viewer to where the photographer needs. You need to be very careful when building a composition.
In this article, we have seen photos taken with the Samyang 14mm f/2.8 ultra wide angle lens. This lens has a relative:
For a landscape photographer, there is nothing better than capturing the harmony and beauty of nature. Whether it's a waterfall, a forest, or a leafy clearing. The magnificence of nature can be told through photography, but for this you need to choose the right lens.
In other words, behind every good landscape painter is a quality wide-angle lens. Moreover, when it comes to shooting nature, the lens is the most important part of the camera. Available on the market today great amount high-quality wide-angle lenses, which we will talk about. From Micro 4/3 to APS-C to Full Frame, the possibilities are almost endless.
Viewing angle
Generally speaking, wide-angle lenses are lenses with a full-frame focal length wider than 35mm. Of course, this is not a strict rule, since a lot also depends on the perspective. If, for example, shooting a forest from a distance of several meters, it is best to use a 14mm lens so that everything fits into the frame. And if you shoot the same forest from a distance of several kilometers, you will need a 50mm lens. In general, with most wide-angle lenses, you can get an angle of view of 114 to 122 degrees. A little more and the lens already enters the territory of fish-glasses, and less than 110 degrees - standard ones.
In addition, the type of sensor in the camera will determine what exactly will be considered a wide angle for a particular camera. We will take four standard types of sensors for interchangeable lens cameras - full frame, APS, micro 4/3 and inch (in order of size). APS is divided into APS-H (for some Canon cameras), APS-C and APS-C for Canon.
Sensor Type/Magnification
- Full frame - x1
- APS-H (Canon) - x1.3
- APS-C-1.5x
- APS-C (Canon) - 1.6x
- Micro 4/3 - 2x
- Inch - 2.7x
If you take a lens that is designed for a full frame sensor and put it on APS-C, then some of the light passing through the lens will be blocked. Thus, an increase in focal length is also created. A lens designed for 35mm will get a crop from x1.3 to x1.6 depending on the type of APS-C sensor. Accordingly, a 24mm full frame glass on APS-C would be equivalent to a 36mm lens. Because of this factor, the focal length of a lens on a camera can go from full frame to standard. While this is great for telephoto shooters (300mm turns into 450mm), it doesn't work well for wide angle lenses.
Fortunately, for each type of camera there is a very big choice various lenses. It should be borne in mind that since the sensor on APS-C is smaller and the focal length is different, manufacturers usually indicate all distances in the lens specifications. The wide-angle Sigma 8-16mm f/4.5-5.6 DC HSM for APS-C cameras, for example, will get a distance of 12-24mm on a full frame.
The smaller the matrix, the larger the crop factor. A micro 4/3 is half a full frame sensor, so an 8mm lens for a Micro 4/3 would have a focal length of 16mm, a 12mm a 24mm, and so on.
As for the inch sensor (for example, on the Nikon 1 camera), its crop factor is x2.7. That is, an 8mm lens will be equal to 21.6mm. In the same way, manufacturers indicate the focal length equivalents for a full-frame matrix in the instructions.
Lens Structure
Anyone who has looked at lens prices has noticed that they vary greatly between cheap and expensive models. Generally speaking, the price is determined by the quality and value of the lens. But this does not mean at all that it is impossible to find budget quality lenses and not the best examples of expensive ones.
Many details, both inside and outside the lens, affect lens performance. It should be noted that even zoom lenses differ in design from lenses with a fixed focal length. And zoom lenses are made up of much more elements, both literally and figuratively: often in the description of the lens you can read “consists of 14 elements in 12 groups. Three aspherical lenses, four LDs and 2 ELDs.”
The last abbreviations are optical features that are aimed at improving light transmission. The most common ones that come across, including in the name of the lens, are LD (low dispersion), ELD (ED) (extra low dispersion), SLD (special low dispersion) and UL (ultra low dispersion), HRI (highly refractive) ASP (aspherical). Some manufacturers have their own terms that characterize certain properties of the lens. Lenses of the same type are assembled into groups, and groups of different ones, as a rule, coexist in one lens, successfully covering several functions at once.
The structure, quality and price of a lens also depends on other factors. For example, lens speed. The faster the lens, or the wider its maximum aperture, the better, as a rule. However, it is not always possible to guarantee that f/2.8 will be better than the cheaper f/4. This often depends on the internal design.
There are two types of zoom lenses - fixed and variable aperture. In the first case, the maximum aperture remains the same at each focal length. In the second, it changes accordingly. More expensive, at the same time, are lenses with a fixed aperture.
Well, as always, you have to choose a lens based on the requirements, budget and camera. Fortunately, there are plenty to choose from.
Canon EF 16-35mm f/2.8L III USM and Canon EF 24-105mm f/4 IS II USM
These lenses are a great addition to Canon's line of full frame lenses. The first lens consists of 16 elements, including an aspherical lens. A special advantage is the PTFE coating. In addition, the lens has a fixed aperture of f/2.8.
The second model similarly has a fixed aperture, but f/4, which is why it costs a little less.
These lenses are an excellent choice for nature photography as they produce high-quality images with gorgeous, rich colors.
Fujifilm's XF 16mm F1.4R WR
For Fujifilm cameras, this lens is better suited than the rest. With a focal length equivalent to 24mm, it consists of two aspherical and two ED elements. Thanks to the nano-coated glass, refraction is corrected and glare and reflections are removed. This lens has a minimum focal length of less than 6 inches and has a fast focusing motor.
Summaron-M 28mm f/5.6
The legendary Leica also received an update for M-series digital cameras. It should be noted that this lens first hit the market in 1955 and only its modern version has been adapted to modern cameras with M mount. This lens focuses at a distance of approximately 90 cm. Symmetric optics are six elements in four groups. Significant for this lens is the vignette effect that made its original model popular.
SL 24-90mm f/2.8-4 ASPH
For those shooting with the Leica SL series, the SL 24-90mm f/2.8-4 ASPH is the perfect choice. It consists of 18 elements in 6 groups, including 4 aspherical elements. 11 of the 18 elements are made of glass, which reduces chromatic aberration. The price of this lens is about 280,000 rubles.
AF-S NIKKOR 24-70mm f/2.8E ED VR
This lens incorporates all the latest technologies, i.e. four steps of image stabilization, electromagnetic aperture (to maintain constant aperture during continuous shooting), ASP/ED elements and a lens coating that reduces reflections and flare. More a budget option for landscape photography from Nikon - AF-S NIKKOR 24mm f/1.8G ED. With f/1.8 aperture and aspherical and extra low dispersion elements.
For DX Nikon cameras with an APS-C sensor, the AF-P DX NIKKOR 18-55mm f / 3.5-5.6G VR is great. This lens offers a 27-83mm focal length and has built-in image stabilization. The stepping motor ensures smoother and quieter autofocus performance. A little cheaper (about 2500 rubles) you can purchase the option without VR, but it’s better not to save.
Olympus M.Zuiko Digital ED 12-100mm f/4.0 IS Pro
With a focal length of 24-200mm on a full-frame sensor and constant aperture, this lens consists of 17 elements in 11 groups. The lens is coated with a nano coating, the lens has built-in stabilization, is protected from weather conditions. The lens is best suited for the OM-D series.
Panasonic Leica DG Vario-Elmarit 12-60mm F2.8-4.0 ASPH Power OIS
Despite the name, this lens is not designed for Leica cameras at all, but it is the result of a collaboration between Panasonic and Leica, designed for Micro 4/3 sensors. On a full-frame sensor, it will give a focal length of 24-120mm, thus allowing you to adapt to any situation. Plus, the lens is weatherproof and capable of operating in temperatures as low as -10 degrees C.
Lumix G Leica DG Summilux 12mm f/1.4 ASPH
Another collaboration between Panasonic and Leica, the Micro 4/3 focal length of this lens will be 24mm and with an aperture of f/1.4 the lens will allow you to shoot in extremely low light. The lens body is protected from water drops and dust, it includes both aspherical and ED and UED elements. Plus, it includes a nine-blade aperture for smooth background defocus.
HD PENTAX-D FA 15-30mm f/2.8 ED SDM WR
For cameras with the Pentax K-1 system, this lens is ideal for landscape photography. The design includes ED lenses, a coating that absorbs glare and allows for fast focusing with image stabilization that works perfectly with the K-1 and has five stops.
Samyang 20mm f/1.8 ED AS UMC
For almost any mount, there is a variant of this lens (Sony UB Sony A, Canon, Nikon, Pentax, Micro 4/3 and Fuji X). All lens models are manual focus and consist of 13 elements in 12 groups. The minimum focal length is about 30 cm.
Sigma 12-24mm f/4 DG HSM Art
This is one of Sigma's top lenses and has options for Canon and Nikon cameras. The lens includes high quality aspherical lenses that provide bright and clear images. The elements have FLD dispersion and the lens focuses up to 20cm at a focal length of 24mm.
For Sony cameras suitable Sigma 30mm f/1.4 DC DN, which is equipped with aspherical and double-sided aspherical elements. The lens has 9 aperture blades and focuses up to 30cm.
Sony FE 24-70mm F2.8GM
Anti-reflective nano-coated lens with XA elements and nine aperture blades for smooth bokeh. A separate plus is the silent mechanism.
Tamron 18-200mm f/3.5-6.3 Di II VC
For Canon, Nikon and Sony, this budget lens from Tamron is also suitable. It is one of the lightest zoom lenses and is great for landscape photography.
A wide angle lens can be a powerful tool for emphasizing depth and relative size in a shot. However, it is also one of the most complex types in development. This article clears up some common misunderstandings and discusses ways to take full advantage of the unique characteristics of a wide-angle lens.
16mm ultra wide angle lens - sunset near Death Valley, California, USA
Review
A lens is usually referred to as "wide-angle" if its focal length is less than 35mm (for full frame; see "Lenses: Focal Length and Aperture"). This corresponds to an angle of view that exceeds 55° on the wide side of the frame. The definition of ultra-wide is somewhat more vague, but most agree that this part starts at focal lengths of 20-24mm or less. For compact cameras, wide angle often means the maximum zoom opening, but ultra-wide angle is usually not available for them without a special adapter.
Anyway, key concept is that the shorter the focal length, the more the unique effects of a wide-angle lens become apparent.
This diagram shows the maximum angles at which light rays
can reach the camera sensor. Ray intersection point optional
equal to the focal length, but approximately proportional to it.
The angle of view, as a result, increases inversely proportionally.
What makes wide angle lenses unique? A common misunderstanding is that wide-angle lenses are mostly used when you can't get far enough away from your subject, but you still want to fit your subject into one frame. However, if this were the only application, it would be a big mistake. In fact, wide-angle lenses are often used for the exact opposite: to be able to get closer to the subject!
Well, let's take a closer look at what makes a wide-angle lens unique:
- It covers a wide field of view.
- It usually has a minimum focusing distance.
Although these characteristics may seem very basic, they mean a fair amount of possibilities. The rest of the article is devoted to ways best use these features to get maximum effect from wide angle photography.
wide angle perspective
Obviously a wide-angle lens is special because of its wide angle of view - but what does it really do? The wide angle of view means that relative size and distance are hypertrophied when comparing near and far objects. This causes nearby objects to appear gigantic, while objects farther away tend to appear small and very far away. The reason for this is the angle of view:
Despite the fact that the two control columns are at the same distance, their relative sizes differ significantly in the images taken with the wide-angle and telephoto lenses, made so that the nearest column completely fills the frame vertically. For wide angle lens remote objects make up a much smaller part of the total viewing angle.
It is a misunderstanding to say that a wide-angle lens affects perspective - strictly speaking, this is not the case. Perspective is only affected by your position relative to the subject at the time of shooting. In practice, however, wide-angle lenses often force you to get quite close to your subject - which, of course, affects for the future.
3 inch exaggerated flowers
in Cambridge, England. used
16mm ultra wide angle lens.
This exaggeration of relative size can be used to add emphasis and detail to foreground objects while covering a wide background. If you want to take full advantage of this effect, you will need to get as close as possible to the closest object in the scene.
In the ultra-wide example on the left, the closest flowers are practically touching the front lens of the lens, greatly exaggerating their size. In fact, these flowers are less than 10 centimeters wide!
body disproportion,
caused by a wide angle lens.
However, special care must be taken when filming people. Their noses, heads, and other body parts can be out of proportion if you get too close to take a picture. Proportionality, in particular, is the reason why narrower angles of view are common in traditional portrait photography.
In the example on the right, the boy's head has become abnormally large relative to his body. This can be a useful tool for adding drama or character to a straight-line shot, but it's obviously not what most people would like to look like in a portrait.
Finally, as distant objects become quite small, it's sometimes a good idea to include some foreground elements in the frame to lock in the composition. Otherwise, a landscape shot (taken from eye level) may look overwhelmed or lack something to grab the eye.
Anyway, don't be afraid to approach much nearer! It is in this case that the wide angle is revealed in all its glory. Just take Special attention compositions; Extremely close objects can be greatly shifted in the image due to the slightest movement of the camera. As a result, it can be quite difficult to place objects in the frame exactly the way you want them.
vertical tilt
Whenever a wide-angle lens is pointed above or below the horizon, the initially parallel vertical lines begin to converge. In fact, this is true for any lens - even a telephoto lens - it's just that the wide angle makes this convergence more noticeable. Further, when using a wide-angle lens, even minimal change in the composition will significantly change the position of the vanishing point - resulting in a noticeable difference in how crisp lines converge.
In this case, the vanishing point is the direction in which the camera is pointing. Hover over the captions for the following illustration to see a simulation of what happens when you point the camera above or below the horizon line:
In this example, the vanishing point has not moved too much in relation to overall size the picture - but it had a huge impact on the building. As a result, the buildings appear to fall towards or away from the viewer.
Although convergence vertical lines in architectural photography, they usually try to avoid it, sometimes it can be used as an artistic effect:
Left: Wide-angle shot of trees on Vancouver Island, Canada.
right: King's College Chapel, Cambridge, England.
In the tree example, a wide-angle lens was used to capture the mast trees in a way that makes it look like they are closing in on the viewer. The reason for this is that they appear to be all around and converging in the center of the image - despite the fact that in reality they are all standing in parallel.
Likewise, an architectural photograph was taken close to the doors to exaggerate the apparent height of the chapel. On the other hand, this at the same time creates the undesirable impression that the building is about to fall back.
Ways to reduce vertical convergence few: either point the camera closer to the horizon (1), even if this means that in addition to the subject, a large area of \u200b\u200bthe surface will be captured (which you will frame later), or significantly further away from the subject (2) and use a lens with a large focal length ( which is not always possible), either use Photoshop or other programs and stretch the top of the image (3) so that the vertical converges less, or use the tilt/shift lens to control the perspective (4).
Unfortunately, each of these methods has its drawbacks, whether it is loss of resolution in the first or third cases, inconvenience or loss of perspective (2) or cost, technical knowledge and some loss in image quality (3).
Interiors and enclosed spaces
A wide-angle lens can be absolutely necessary for confined spaces, simply because it's impossible to get far enough away from the subject to fit it entirely into the frame (using a normal lens). A typical example is the shooting of the interiors of rooms or other premises. This type of shooting is also probably the easiest way to get the most out of a wide-angle lens, in part because it forces you to be close to the subject.
left: 16mm focal length - Antelope Canyon, Arizona, USA.
right: spiral staircase in New Court, St. John, Cambridge, England
In both examples, you can move just a few steps in either direction - and yet the pictures do not show the slightest constraint.
Polarizing filters
national park
Coral reef, Utah, USA.
Using a polarizing filter with a wide-angle lens is almost always undesirable.. Key Feature polarizer is the dependence of its influence on the angle relative to the sun. If you point the camera at a right angle to sunlight, its effect will be maximum; likewise, pointing the camera directly at or against the sun will virtually eliminate its influence.
For a wide-angle lens, one edge of the frame can be almost perpendicular to the sun, while the other is almost perpendicular to it. This means that a change in the influence of the polarizer will be reflected in the frame, which is usually undesirable.
In the example on the left, the blue sky undergoes clearly visible changes in saturation and brightness from left to right.
Light control and wide angle
Filter usage example -
lighthouse at Cape Nora, Sardinia.
A typical hindrance to using wide angle lenses is the strong variation in light intensity in the image. With a normal exposure, uneven lighting causes part of the image to be overexposed and another part to be underexposed - even though our eyes would adapt to the change in brightness when looking in different directions. As a result, you have to additionally take care of determining the desired exposure.
For example, in landscape photography, the foliage in the foreground is often significantly less intensely lit than the sky or distant mountain. This results in an overexposed sky and/or an underexposed ground. Most photographers use so-called graduated neutral density (GND) filters to deal with this uneven lighting.
In addition, a wide-angle lens is much more prone to flare, in part because the sun is much more likely to be in the frame. In addition, it can be difficult to shield the lens from side rays with a lens hood, since it should not block the light that forms the frame at a wide angle.
Wide angle lenses and depth of field
Note that nothing has been said about the wide-angle lens having a large depth of field. Unfortunately, this is another common misconception. If you magnify your subject by the same amount (i.e. fill the frame to the same proportion), a wide-angle lens will provide the same* depth of field as a telephoto lens.
The reason that wide-angle lenses have a reputation for increasing depth of field is not due to any feature of the lens itself. The reason is the most frequent way their applications. People rarely get close enough to their subjects to fill the frame as much as when using lenses with a narrower angle of view.
I often hear that the criterion for choosing a camera is the presence of a wide-angle lens. The larger the angle of coverage, the better. And then, - they tell me, - I wandered along the narrow streets, and there is such a luxurious architecture, but I could not take anything off. In general, the classic situation: I want the Tsar Cannon. And even a flea - so shoe it so that it does not slip on the ice, but the fact that it stopped moving its paws - the horseshoes are heavy - is forgotten. With ultra wide-angle lenses, the situation is very similar, although this is certainly a very interesting thing. But a large angle often leads to completely different results, which are subconsciously expected from it. We wanted to capture everything at once, but in the photograph there is a building that is difficult to recognize. The problem is exacerbated by the fact that when we go beyond the limits of natural perception, the usual rectilinear projection ceases to be natural.
First, let's repeat some elementary truths. The image obtained with an ordinary lens is equivalent to the image obtained with a pinhole camera, the hole of which is located at a focal length from the plate. The human eye covers approximately 40 degrees with a fixed pupil, which corresponds to the focal length of a 50 mm lens working with a 24x36 mm frame. There are no problems with longer lenses, both with imaging and with perception. After all, the situation is quite natural: binoculars, spyglass, keyhole, eventually. With wider-angle lenses, things are not so obvious. You can quickly rotate your eyes, you can look into a crooked mirror, but in the case of a rectilinear projection, the extreme rays will practically slide over the photographic plate, and the image will be greatly distorted, although the lines will remain straight. I do not dwell here on the features of digital photography, when it is very difficult for the matrix to register grazing rays. This problem has long been solved in the design of the so-called, and although the image in them corresponds to a hole located very close to the plate, in reality the rays leaving the lens are no longer parallel to the incoming ones, and fall on the matrix not under such acute angle. The problem of a catastrophic deterioration in quality at the edges of the frame when working with ultra-wide-angle lenses is associated not so much with the imperfection of the lens design, but with the very formulation of the problem: we are trying to register grazing rays. It seems to me that the desire to make ultra wide-angle lenses that work in normal (rectilinear, and in some articles it is called rectangular) projection is connected with the desire to maintain the usual projection in unusual conditions. An alternative is fisheye lenses, which give a completely different projection, but with computer processing one projection can be easily converted to another, and the need to immediately obtain the desired image ceases to be a decisive argument when choosing a digital camera lens. Those. in digital processing, fisheye lenses can be successfully used instead of ultra-wide-angle lenses that build an image in a rectilinear projection. Let's compare two lenses with close focal lengths, but different principles of image construction. The focal length of the Mir 47 lens and the Zenitar lens differ by only 4 mm. Externally, the optical schemes seem similar, but the results are strikingly different.
I draw your attention to the fact that although the filters for both lenses are placed after the rear lens, for Zenitar it is placed instead of a plane-parallel plate. Since the thickness of the plate and the filter are the same, there is no change in the path of the rays. Without a filter or plate, this lens will not be able to focus to infinity. The Mir-47 lens has filters as an additional element, their thickness is small enough not to make significant changes in focusing.
Zenitar is a " Fisheye", and it builds an image in accordance with the principle: an equal angle corresponds to an equal segment of the image in the focal plane. As a result, the edges of the frame appear to be drawn in more detail. With fisheye lenses, the problems of deterioration in quality at the edges of the frame are really related to the complexity of the design and the difficulty of creating an ideal optical design.
In Canon's catalog, the widest "normal" lens has a focal length of 14mm and a long-side angle of view of 104°. If you look at the MTF given in the book Canon TF Lens Work II, lens EF 14 mm f / 2,8L USM, we will see that not only at a distance of 20 mm from the center, the contrast of fine lines drops to almost zero, and does not even save iris, but also the contrast change curve has several local minima in the interval between the center and the edge of the frame. The next lens in Canon's catalog has a focal length of 20mm and an aperture ratio of 1:2.8. Its MTF is also reminiscent of the dancing of drunken caterpillars and does not inspire optimism about the quality at the edges. According to formal features, our hero, Mir-47, has exactly the same characteristics: a focal length of 20 mm, an angle of view of 94 ° diagonally, 84 ° horizontally and 62 ° vertically, the relative aperture is even slightly better, 1: 2.5. The only thing known about the pedigree is that a small batch was produced by the Krasnogorsk plant in 1982. According to the website of the Krasnogorsk plant, the calculation was made by GOI. And the LOMO lens was produced, and then its production was transferred to the Vologda Optical and Mechanical Plant (), whose products I am testing today. By design, the Vologda lens differs from the Krasnogorsk lens.
For its lens, it indicates the resolution according to the center / edge specifications: 60:17 lines / mm. Unfortunately, I don’t have this TU, and GOST 25502-82 involves plotting a dependency graph and, given the rapid deterioration of resolution towards the edge of the image, information such as center / edge, when it is not known where this edge is, becomes little informative, because if there are 17 lines /mm at a distance of 19mm from the center of the frame, then the lens is comparable to Canon products; and if at a distance of 21 mm - then much better. Let me remind you that the diagonal of the frame is 43 mm, i.e. the very-most corner is at a distance of 21.5 mm from the center of the frame.
Finishing the description of the design, I will dwell a little on the mechanics. For lenses with an M42 threaded connection, when the aperture selection ring is rotated, its diameter does not change, but only the limiter stop moves. The design is designed in such a way that it is not the rotation of the ring that moves the aperture blades, but the rod that the device presses at the moment the shutter is released to close the aperture to the working position. When using the adapter ring EOS-M42, the stem is pressed all the time and the diaphragm is always closed to the working position. In this case, when the aperture ring is rotated, its petals often stick, the hole loses correct form and aperture values are not always set the same. Since automatic aperture closing is not used when used with digital cameras, in my copy I removed the pusher mechanism and installed a more powerful spring. As a result, when the aperture ring is rotated, the hole diameter will change more predictably :-)
To illustrate the possibilities of wide-angle optics, Sergei Shcherbakov and I took a Canon 5D with a full-size 24x36mm sensor and a Canon 350D with a 14.8x22.2mm sensor and our collection of wide-angle lenses. A building was removed from one point. After that, the obtained images were compared. Since the lenses used gave images in different projections and distorted the perspective in different ways, in this case, “for the purity of the experiment”, we decided to compare photos only in a rectilinear projection, with the maximum possible computer correction of distortions. As a rule, we used programs based on the package developed in 1998 by a professor of physics (Helmut Dersch).
Canon 5D
Here's what the Canon 5D camera sees from the point of view through a fisheye lens.
And such a coverage angle can be pulled out of this lens in a rectilinear projection
Original photo.
The miniature scale is 13% of the original.
Apply the Lens Correction plugin from Adobe software photoshop
And after editing the perspective distortion and distortion, we get:
The thumbnail corresponds to 13% of the original size.
There are many ways to transform an image taken with a fisheye lens.
For example, use the plugin.
It is possible to correct both the projection and perspective distortions at the same time, however, the range of vertical perspective correction is a bit lacking to obtain vertical wall lines.
You can, as in the above example of correcting a picture taken by Mir-47, use Lens Correction:
However, in this case, it is not possible to correct barrel distortion in one step. And there is, as in the previous case, the need to apply the plugin again to the already converted image.
More promising, in my opinion, is the use of the Remap plugin for converting to a rectilinear (Normal) projection:
HFOV - horizontal field of view
The result is the following image:
The thumbnail corresponds to 13% of the original size.
Now fix the vertical perspective with Lens Correction or PTPerspective
and as a result we get:
The thumbnail corresponds to 13% of the original size.
Naturally, you have to pay for everything, and if you convert the image obtained by the Fisheye lens into a rectilinear projection, the use of the sensor area is not as efficient as when shooting with a conventional lens.
But what does the lens give Sigma 24-70 at a focal length of 24 mm.
The thumbnail corresponds to 13% of the original size.
Canon 350D
Now let's see if we can get similar viewing angles on the smaller Canon 350D sensor. Naturally, there are no circular Fisheye lenses for it, but we are now considering only normal projections, and if you wish, you can get an image of the type given by 8 mm Bearing on a 24 × 36 matrix on a smaller matrix using a attachment for a longer focal length lens.
The thumbnail corresponds to 13% of the original size.
Maximum coverage in rectilinear projection can be obtained using the PTLens plug-in, however, the quality of the edges will be unsatisfactory
Since I do not suggest comparing this option with others, the thumbnail size is 19% of the image after conversion.
You can moderate the ardor and not try to get the maximum coverage in this plugin or use the Remap and Lens Correction plugins.
The thumbnail corresponds to 13% of the image obtained after the conversion.
The thumbnail corresponds to 13% of the original size.
The thumbnail corresponds to 13% of the image obtained after conversion by the PTLens and Lens Correction plugins.
Using this image as an example, I will show that Adobe Photoshop is not the only add-on that allows you to work with PanoTools. You can use the graphical interface to the tools for creating panoramas "". For optimization, load a single frame into it and select control points that lie on horizontal and vertical lines. For example, in the left image we select the upper section of the drainpipe, and in the right image we select the lower section of the same pipe, and note that these points lie on the same vertical line.
We start the optimization and save the resulting result in a rectilinear projection:
Thumbnail corresponds to 13% of the image obtained after conversion using the Hugin program.
F=18 mm.
The thumbnail corresponds to 13% of the original size.
After perspective correction with the Lens Correction plugin.
After perspective correction with the Lens Correction plugin:
Since it is this lens that is the main character of this article, let's use this image as an example to see how effectively chromatic aberrations can be eliminated programmatically. I prefer to eliminate them at the conversion stage RAW files. Here's what happens if you use Adobe Camera RAW:
The image has been doubled in size.
As can be seen from the above pictures, a small matrix itself does not interfere with obtaining images with the same viewing angles as a large one. Obviously, images in the center do not depend on the size of the sensor, but only on the resolution of the lens and the pixel size. At the edges, the situation is much less clear, because with a large matrix, the edge / center difference is more significant. Let's compare the display quality of the same objects located in the center and on the periphery of the frame when shooting with different lenses and cameras. If shooting is carried out with one lens and different cameras, then it is obvious that the objects are at the same distance from the center, i.e. for 5D this is by no means the very edge. For ease of comparison, smaller images are enlarged so that the scale of objects is the same everywhere. Naturally, zooming in doesn't improve quality, but sometimes a smaller zoom shot will produce a sharper image than a larger one taken with a "soft" lens. However, if you need to choose a lens for shooting from a fixed point for printing a large format photo, then this approach has the right to exist, since it is difficult to predict what a small and sharp image will turn into when it is enlarged.
Subjective impressions of the resulting table.
Approximately equal angle gives the Sigma 24 mm lens on a large matrix and Zenitar on a small one. Zenitar is a sharp lens with a very good resolution. The small pixel of the Canon 350D allows it to realize its potential better. If we need a coverage angle of 50 degrees, then I would arrange the photos in the following order: Mir-47 with a 5D camera, Zenitar with a 350D, Canon 18-55 (F=18 mm) with a 350D, Sigma 24-70 (F=24 mm ) with 5D, Zenitar with 5D. In a pair of Zenitar with 350D and Canon 18-55 (F = 18 mm) with 350D, I gave the advantage to Zenitar due to better quality in the center and a larger viewing angle, all other things being equal. Once again, I note that everything is very subjective, since these are not worlds, and changing cloudiness greatly influenced the contrast of individual image details. In a pair of Canon 18-55 (F = 18 mm) with 350D and Sigma 24-70 (F = 24 mm) with 5D, the latter lost due to the larger frame area; towards the edge, its performance degradation turned out to be more significant. In these shots, the window really is at the very edge of the frame, and the slightly larger viewing angle of Sigma did not allow it to win in the competition for shooting a specific building :-) In any case, when shooting with a wide-angle lens, you will have to put up with uneven quality across the image field. Unfortunately, when shooting landscapes, the important part of the plot often occupies the entire area of the frame. In the light of the above, if you look at the picture taken with the Mir-47 lens and the 5D camera from a slightly different angle, when the window falls on the very edge of the picture, then in my opinion the results are better than expected :-)
Mir-47 - the very edge of the frame
In conclusion, a few pictures that show effective use huge depth of field given by the Mir 47 lens.
Wide angle lenses are often misused or chosen for the wrong reasons. Many beginners buy really good lens wide angle, 50mm (because someone suggested) and a longer zoom lens. But the biggest mistake is not understanding how they work, why you need each one specifically, and for what situation.
In this article, we will look at wide-angle lenses. What they do, how to use them, and how to avoid the following five most common mistakes photographers make.
- Everything in the image is at the same distance from the lens.
- There is no clear subject.
- The wide angle lens is only used to fit more objects into the frame.
- Taking bad pictures of people.
- Shooting with a wide-angle lens for no reason.
What is a wide angle lens?
Technically, this is any lens that has a wider field of view than the human eye. Back in the days of film, a 50mm lens was considered "normal" because it gives a picture that is closest to what a person sees. Now with "digital" it's a bit more complicated - 50mm is considered normal for full frame cameras, which corresponds to approximately 35mm for APS-C or crop sensors (for the same angle of view).
Therefore, focal lengths greater than 50mm (full frame) or 35mm (APS-C) are considered wide-angle lenses. The smaller the focal length, the wider the frame will be, for example; 15mm which is ultra wide (full frame) or 10mm (special lens made only for APS-C cameras). Even wider lenses are considered fisheye lenses, and the image becomes almost round when shooting.
What does a wide angle lens do?
Wide-angle lenses distort objects and improve perspective: objects closer to the camera appear larger than those farther away, even if they are the same size in reality.
Look at the photo of the subway sign above; notice how much larger the part closer to the camera is compared to the part farther away. This is the result of a wide-angle optical lens. The same can be seen in the photo with the Brooklyn Bridge from above and with the buildings below.
Let's compare the images below, taken with wide angle and telephoto lenses respectively.
17mm lens on full frame camera (you need to use 11mm on APS-C to get this angle of view)
A 75mm lens on a full frame camera (a 50mm lens on an APS-C camera will give you about the same angle of view)
Look at the size of the tractor in the two images. Notice how visually larger the tractor in the first photo is compared to the object in the background. See how the aspect ratio has changed in the second image? The tractor did not move between shots, the distance between objects did not change either. The only thing that has changed is the lens used by the photographer, as well as the distance between the subject and the camera.
5 Beginner Mistakes When Using a Wide Angle Lens
- Everything in your image is the same distance from the lens
To use a wide angle lens properly, you need something close to the lens.
This was shot with a 24mm lens. There is no object here because all the elements are at the same distance from the camera. Compare with the tractor image above, especially with the wide-angle shot: the tractor literally comes to life on it
Now look at the two images of the bike below. There is nothing that stands out in the picture on the left. As he approaches, he switches to a bicycle. The photographer was only a few inches from the front tire when he took the second shot.
You can't be invisible when you're shooting wide-angle. To make your pictures more interesting, have more depth and perspectives - you need to get closer to the objects you are shooting. Try to find an object at a very close distance to the lens, something else at an average distance, and leave the background even further away. This will give your photo depth.
The image above was taken from the hip (literally) as the photographer crossed the street in New York. The finished image was cropped and processed as follows.
The true New York is a bustling hub of activity. And the perspective obtained with the help of a wide-angle lens takes the viewer into the thick of it. Do you feel the chaos through the photo?
One more example.
A beautiful sunrise, but it may seem like something is missing
It is best to add a person to the frame, proximity to the camera brings depth
- There is no clear object in the image
This error is closely related to the first. When everything is an equal distance from the lens, . As soon as you get close to make the object in the frame larger, it will begin to visually stand out.
In these examples, the photographer started with 17mm and a very low angle. He wanted to emphasize the perspective through the converging lines of the railroad tracks.
In the first shot (above) this was not achieved, it does not have a clear object on which the viewer could hold his eyes. Then the focus was on a nail that was sticking out of the board. It turned out better, but then it turned out sticking out of rotten boards yellow leaf. Backlit by the sun, it really stood out in the photo. The leaf has become the focal point of the image, not only because of its size in the frame, it is a bright warm color, not centered, but also on it in a certain way.
What story do you want to tell in your photography?
Use all your senses to become aware of what is happening around you when you are photographing. How can you link this to your image?
The image above was taken at Notre Dame Basilica in Montreal.
A wide angle lens was used to focus more on the statues and pulpit and less on the main altar. The viewer's eye "goes" to them because of their size in the frame.
Finally, consider composition and lighting. If the subject is not placed in the center, the photo will be more interesting. Make sure it's well lit and the background doesn't distract the viewer.
- Mistake #3 - Trying to fit too much into a frame
Street vendor in Havana, Cuba; 17mm lens (full frame)
Pick something interesting on the counter to focus on while the rest of it acts as a backdrop. It is necessary to choose one object, and not the whole room, market or other place. Your message will be diluted if you try to fit as many things into the frame as possible.
Simplify - simplify - simplify. Often in photography, less is more. Say more with less things in your images. See how simple, but at the same time graphic, the photos below?
- Taking bad pictures of people
Wide-angle lenses distort objects in the frame. Thus, the nose of the person in the photo will lengthen, the jaw will stick out, and the head will look just huge!
17mm lens - not a very good photo of the model
This type of shooting is generally not suitable for most people. If you want to photograph a person successfully, just don't use a wide-angle lens. You need to understand what effect it will have on the photo and use it wisely.
35mm is a little better
70 mm is another matter. 85mm is a common focal length for portrait photography. The face looks pleasing, less background is shown, the viewer's attention is focused on the model's face
160mm - great for head shots
Experiment with all the lenses that you have, think if you were photographed, then you would like to end up with an image taken with which lens? Take pictures with him.
Use a wide angle lens to photograph people who show their surroundings (think of the shop owner in the example above), add some fun or even a bit of humor, tell a story. But be aware that this photo will probably not be flattering for the model.
If you intend to make a flattering portrait for the model - choose a lens slightly longer than usual in the short telephoto range (85-135 mm at full screen mode, 60-90mm APS-C).
The wide-angle view shows the whole picture. This is a travel guide and shaman in Peru playing Machu Picchu. The background in this case is very important - it tells part of the story.
humor and wide angle shooting match perfectly
Children are very important object shoots that you can have some fun with. Let the spirit of explorers wake up in them, and they approach the wide-angle lens. This will add a sense of playfulness and fun to all photos.
- Shooting with a wide-angle lens is good just "because it's good"
The final mistake is to use a wide-angle lens just because "it's cool". Often, when people buy a new lens, they only use it for a while, and where they need and don't need it.
Success with a wide lens
Choose your lens based on the effect you want in your shots.
Converging lines of a long corridor lead the viewer to the stage
Get close, find a well-defined and understandable subject, don't try to fit as many things into the frame as possible, photograph people correctly with a wide-angle lens, and make informed decisions about its use in general.
